Концерт для скрипки (Бетховен)
| Концерт для скрипки | |
|---|---|
| Людвиг Ван Бетховен | |
 | |
| Ключ | D майор |
| Опус | 61 (а) |
| Период | Классический период - романтический период ( переход ) |
| Genre | Violin concerto |
| Composed | 1806 |
| Dedication | Franz Clement |
| Movements | Three |
| Premiere | |
| Date | 23 December 1806 |
| Location | Theater an der Wien, Vienna |
| Performers | Franz Clement |
Концерт для скрипки в D Major , op. 61, был написан Людвиг Ван Бетховен в 1806 году. Его первое выступление Франца Климента было неудачным, и в течение некоторых десятилетий работа томилась в безвестности, пока не возродилась в 1844 году тогдашним 12-летним скрипачом Иосифом Жохимом с оркестром Лондона Филармоническое общество, проведенное Феликс Мендельсон . Йоахим позже утверждал бы, что это «величайший» концерт на скрипке немецкого языка. [ 1 ] С тех пор это стало одним из самых известных и регулярно выполняемых концертов для скрипки .
Бытие
[ редактировать ]Бетховен ранее написал несколько произведений для скрипки и оркестра. В какой -то момент в 1790–2, до своей музыкальной зрелости он начал концерт для скрипки в C , из которого выживает только фрагмент первого движения. Неизвестная работа или даже первое движение когда -либо завершены. [ 2 ] В любом случае, это не было ни исполнено, ни опубликовано. Позже, в 1790 -х годах, Бетховен завершил два романа для скрипки - сначала роман в F , а затем роман в G. [3]
These works show a strong influence from the French school of violin playing, exemplified by violinists such as Giovanni Battista Viotti, Pierre Rode and Rodolphe Kreutzer. The two Romances, for instance, are in a similar style to slow movements of concerti by Viotti.[4] This influence can also be seen in the D major Concerto; the 'martial' opening with the beat of the timpani follows the style of French music at the time, while the prevalence of figures in broken sixths and broken octaves closely resembles elements of compositions by Kreutzer and Viotti.[5]
Performance history
[edit]Beethoven wrote the concerto for his colleague Franz Clement, a leading violinist of the day, who had earlier given him helpful advice on his opera Fidelio. The work was premiered on 23 December 1806 in the Theater an der Wien in Vienna, the occasion being a benefit concert for Clement. The first printed edition (1808) was dedicated to Stephan von Breuning.
It is believed that Beethoven finished the solo part so late that Clement had to sight-read part of his performance.[6] Some sources state that Clement interrupted the concerto between the first and second movements with a solo composition of his own, played on one string of the violin held upside down[6] however, other sources claim that he played this piece only at the end of the performance.[7]
The premiere was not a success, and the concerto was little performed in the following decades.
The work was revived in 1844, well after Beethoven's death, with a performance by the then 12-year-old violinist Joseph Joachim with the orchestra of the London Philharmonic Society conducted by Felix Mendelssohn. Ever since, it has been one of the most important works of the violin concerto repertoire, and is frequently performed and recorded today.
Performance practice
[edit]
It has been said that not only in this piece, but generally, "Recordings demonstrate that ... it was the practice in the early twentieth century to vary the tempo considerably within a movement,"[8] and that in the concerto, there is "often one big trough (slowing?) in the central G major passage."[9]
Structure
[edit]The work is in three movements:
It is scored, in addition to the solo violin, for flute, two oboes, two clarinets in A, two bassoons, two Natural horns, two Natural trumpets, timpani, and strings.
1. Allegro ma non troppo
[edit]The movement starts with four beats on the timpani and leads into a theme played by the oboes, clarinets and bassoons. The strings enter with a non-diatonic D# that leads into a V7 chord. The clarinets and bassoons play another theme. This is suddenly interrupted by a louder section in B-flat major. This leads into a theme in D major and later in the parallel minor. The soloist enters with a V7 chord in octaves. This movement is about 21 minutes long.
2. Larghetto
[edit]This movement is in G major. It is about 10 minutes long.
3. Rondo. Allegro
[edit]This movement starts without pause from the second movement. It begins with the famous "hunting horn" theme. There is a section in G minor. After the cadenza, it ends with a typical V-I cadence. This movement is about 10 minutes long.
Cadenzas
[edit]Cadenzas for the work have been written by several notable violinists, including Joachim. The cadenzas by Fritz Kreisler are probably most often employed. More recently, composer Alfred Schnittke provided controversial cadenzas with a characteristically 20th-century style; violinist Gidon Kremer has recorded the concerto with the Schnittke cadenzas.[10] New klezmer-inspired cadenzas written by Montreal-based klezmer clarinetist and composer Airat Ichmouratov for Alexandre Da Costa in 2011 have been recorded by the Taipei Symphony Orchestra for Warner Classics.[11]
The following violinists and composers have written cadenzas:[12][13]
- Leopold Auer
- Joshua Bell
- Ferruccio Busoni
- Stephanie Chase
- Ferdinand David
- Jakob Dont
- María Dueñas (violinist)
- Isaak Dunayevsky
- Mischa Elman
- Carl Flesch
- Joseph Hellmesberger Sr.
- Jenő Hubay
- Joseph Joachim
- Patricia Kopatchinskaja
- Fritz Kreisler
- Christiaan Kriens
- Airat Ichmouratov
- Ferdinand Laub
- Hubert Léonard
- Nathan Milstein
- Bernhard Molique
- Miron Polyakin
- Manuel Quiroga
- Camille Saint-Saëns
- Wolfgang Schneiderhan
- Alfred Schnittke
- Sayaka Shoji
- Ödön Singer
- Louis Spohr
- Maxim Vengerov
- Henri Vieuxtemps
- Jörg Widmann
- Henryk Wieniawski
- August Wilhelmj
- Eugène Ysaÿe
Alternative versions
[edit]Perhaps due to the Violin Concerto's lack of success at its premiere, and at the request of Muzio Clementi, Beethoven revised it in a version for piano and orchestra, which was later published as Op. 61a. For this version, which is present as a sketch in the Violin Concerto's autograph alongside revisions to the solo part,[14] Beethoven wrote a lengthy first movement cadenza which features the orchestra's timpanist along with the solo pianist. This and the cadenzas for the other movements were later arranged for the violin (and timpani) by Rudolf Kolisch, Max Rostal, Ottokar Nováček, Christian Tetzlaff and Wolfgang Schneiderhan. Gidon Kremer, on his recording with Nikolaus Harnoncourt, adapts these cadenzas for violin, timpani and piano, although the piano does not play in any other parts of the recording. Patricia Kopatchinskaja adapted the cadenza of the first movement for two violins, celli and timpani, for the other movements for violin. Seiji Ozawa also wrote an arrangement for piano.[citation needed] More recently, it has been arranged as a concerto for clarinet and orchestra by Mikhail Pletnev.[15] Robert Bockmühl (1820/21–1881) arranged the solo violin part for cello & played it as a Cello Concerto; Gary Karr played Bockmühl's arrangement on a double-bass tuned in fifths as a double bass concerto.[citation needed]
Recordings
[edit]The first known recording of Beethoven's violin concerto was made in 1923 for His Master's Voice by violinist Isolde Menges, with Landon Ronald conducting the Royal Albert Hall Orchestra. Hundreds of recordings have been made since, among which the following have received awards and/or outstanding reviews:
- 1925: Josef Wolfsthal, Berlin Staatsoper Orchestra, Hans Thierfelder
- 1940: Jascha Heifetz, NBC Symphony, Arturo Toscanini
- 1947: Yehudi Menuhin/Lucerne Festival Orchestra/Wilhelm Furtwängler
- 1953: Wolfgang Schneiderhan, Berlin Philharmonic, Eugen Jochum, Deutsche Grammophon – "Rosette" by the Penguin Guide
- 1954: David Oistrakh with Sixten Ehrling cond. the Stockholm Festival Orchestra in Stockholm over 10–11 June 1954. Testament CD: "David Oistrakh Beethoven & Sibelius", 1994.
- 1955: Jascha Heifetz, Boston Symphony Orchestra, Charles Munch, RCA Victor – "Mid-price choice" by BBC Radio 3 Building a Library, September 2003
- 1957: Ida Haendel, Czech Philharmonic, Karel Ančerl, Suraphon – 14 May 2010.
- 1959: Isaac Stern, New York Philharmonic, Leonard Bernstein, Sony "Unique cadenza in last movement"
- 1974: Arthur Grumiaux, Concertgebouw Orchestra, Colin Davis, Philips – "4 star" by the Penguin Guide
- 1980: Anne-Sophie Mutter, Berlin Philharmoniker, Herbert von Karajan, Deutsche Grammophon
- 1980: Itzhak Perlman, Philharmonia Orchestra, Carlo Maria Giulini, EMI – Gramophone Award, 1981
- 1997: Thomas Zehetmair, Orchestra of the Eighteenth Century, Frans Brüggen, Philips – "First choice" by BBC Radio 3 Building a Library, September 2003
- 1999: Hilary Hahn, Baltimore Symphony Orchestra, David Zinman, Sony Classical
- 2006: Isabelle Faust, Prague Philharmonia, Jiří Bělohlávek, Harmonia Mundi – "First choice" by BBC Radio 3 Building a Library, April 2011; Diapason d'Or by Diapason, April 2011
- 2009: Patricia Kopatchinskaja, Orchestre des Champs-Elysées, Philippe Herreweghe, Naïve - BBC Music Magazine Award 2010 (orchestral category)
- 2011: Сабель Фауст , оркестровый Моцарт , Клаудио Аббадо , Гармония Мунди - ; 2012 2012 ; Апрель "Или Arte" по d ' или диапазону ; Grampone Award, 2012; ; Echo Klassi 2012
- 2020: Даниэль Лозакович , Мюнхенская Филармония , Валерия Гергиев , Герман Граммпофон - Каденца Клейслер, 2020
- 2022: Фильд Фрэн , Пекка Кусисто , Deutsche Cermphilharmony Bremen - Parlophone Records , 2022
Ссылки
[ редактировать ]Сноски
- ^ Стейнберг, Майкл. «Брух: Концерт № 1 в г минор для скрипки и оркестра, опус 26» . Симфония Сан -Франциско . Архивировано с оригинала 7 ноября 2014 года . Получено 6 декабря 2017 года .
- ^ Stowell 1998 , с. 4–5.
- ^ Романсы были опубликованы в противоположном порядке, первый составленный был опубликован вторым, становясь "Романтикой № 2"
- ^ Stowell 1998 , p. 14
- ^ Stowell 1994 , с. 16–19.
- ^ Jump up to: а беременный Eulenburg 2007 , Предисловие, с. 3
- ^ Стейнберг, Майкл (1998). Концерт: руководство слушателя . Издательство Оксфордского университета. п. 81 . ISBN 978-0-19-510330-4 .
- ^ Philip 1994 , p. 196
- ^ Philip 1994 , p. 198.
- ^ «Обзор - Бетховен: скрипка концерт / Кремер, Марринер, ASMF» . Arkivmusic.com. 2010-04-22 . Получено 2014-01-01 .
- ^ «Александр да Коста, скрипка концерт» . WarnerClassics.com. 1 августа 2013 года. Архивировано с оригинала 24 ноября 2015 года . Получено 2015-08-07 .
- ^ Berginc 2010
- ^ Wulfhorst 2010
- ^ Людвиг Ван Бетховен. Концерт для скрипки и оркестра D Major Opus 61. [Австрийская национальная библиотека, Вена, мус. HS. Грац, 1979.
- ^ Фенеч, Джеральд (октябрь 2000 г.). «Обзор - концерт для скрипки Бетховена для кларнета» . MusicWeb.com . Получено 2014-01-01 .
Библиография
- Бетховен, Людвиг Ван: Концерт для скрипки и оркестра в D Major, op. 61. Оценка. Eulenburg 2007. EAS 130
- Бетховен, Людвиг Ван: Концерт для скрипки и оркестра D Major Opus 61. (Факсимильное издание полного балла автографа) Австрийская национальная библиотека, Вена, Mus. HS. Отредактировано, с комментариями (на немецком языке) Франца Грасбергера. Грац, 1979.
- Бергинк, Милан (2010). Бетховен на скрипке концерт и каденции скрипки Бетховена. 61 (PDF) (тезис). Архивировано из оригинала (PDF) 2016-03-05 . Получено 2014-01-01 .
- Филипп, Роберт. «Традиционные привычки производительности в записях Beathoven начала двадцатого века», в Stowell, ed. (1994), с. 195–204.
- Стоуэлл, Робин, изд. (1994). Выполнение Бетховена . Кембридж: издательство Кембриджского университета. (Десять эссе различных авторов)
- Стоуэлл, Робин (1998). Бетховен скрипки Концерт . Кембридж: издательство Кембриджского университета.
- Wulfhorst, Martin (2010). «Комплексный каталог каденций для скрипки Бетховена 61» . Получено 2014-01-01 .
